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    Multiver-City One: 2000 AD Prog 1961 & Judge Dredd Megazine 367

    By and | December 16th, 2015
    Posted in Columns | % Comments

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    Welcome, citizens, to this week’s installment of Multiver-City One! Every Wednesday we examine the latest offerings from Tharg and the droids over at 2000 AD, the galaxy’s leading producers of Thrill-Power entertainment! Between the weekly “2000 AD” itself, the monthly “Judge Dredd Megazine”, an extensive library of graphic novel collections, and new US-format one-shots and mini-series, they have decades of zarjaz comics for you to enjoy.

    This is it, humes! With both a Megazine AND the 100-page year-ending Prog 1961 out this week, we’re so excited to tell you about them the usual public service announcement has been bumped down to the bottom of the page so we can jump right in!


    Cover by Ian Kennedy

    This week’s Prog marks the end of the publishing year for The Galaxy’s Greatest Thrill-Zine, and it’s going out with a bang! Since this issue will occupy shelves for the next three weeks, Tharg and company have seen fit to deliver a massive 100-page giant to us Earthlets just in time for the holidays. So, in a way, the great green editor overlord is a lot like ol’ Kris Kringle: both give gifts in December, both rule over a subservient worker class, and neither care much for those they’ve deemed ‘naughty.’



    Bad Company: First Casualties, Part 12

    With this week’s extra-sized Prog comes the end of the latest installment of ‘Bad Company.’ This was The Company’s first run in almost 15 years, and the first since the passing of series artist Brett Ewins. I’ve said it previously, but I think it bears repeating that the work Rufus Daylgo and Jim McCarthy turned in for this strip did Ewins proud. As the late artist’s collaborator, McCarthy worked with Dayglo to create a strip as much of an homage as it was a modern interpretation. It seems to my eye that Dayglo has drawn a lot of influence from Ewins in general, so his succession makes a whole lot of sense. For running in an anthology known for stunning art, ‘Bad Company’ was a stand-out every week.

    Without getting too deep into plot points and spoilers, this wrap-up seemed to be a real mixed bag for The Company. They achieved their ultimate goal, but with great cost and, in the end, little success. But that won’t stop them, it seems, as this conclusion could easily serve as a new beginning for this long-running strip.

    Credits: Peter Milligan (script), Rufus Dayglo & Jim McCarthy (art), Simon Bowland (letters)



    Kingdom: Beast of Eden, Part 1

    The story of how Gene The Hackman went to war continues!

    This new chapter of ‘Kingdom’ began in a most unexpected way: with a team of astronauts parachuting to earth from low orbit! As it turns out, this team consists of two humans and two Aux. Their goal? Save the human race. Now, the last ‘Kingdom’ series was my first real exploration into this world, so I could be speaking from a place of ignorance here, but I was really surprised to see this. Especially when you consider that this team’s tech is unlike anything I’ve seen in the story so far. We don’t get to know them too well, though, because all manner of giant monsters descend upon them before there’s time for much exposition.

    Around here, we’re always eager for new work from Dan Abnett, so this sci-fi tale of bad grammar and barbarianism is more than welcome. Plus, Richard Elson’s art is off to a hell of a start, so the pot is even sweeter.

    Credits: Dan Abnett (script), Richard Elson (art), Ellie de Ville (letters)


    The Order: In The Court Of The Wyrmqueen, Part 1

    We’ll get to ‘The Order’ proper in a minute, but I just want to call your attention to a wider point, if I may. Generally speaking, “2000 AD”‘s success is as much due to its tradition of a completely diverse selection of artists as any other factor. There is no ‘house style’ for this comic, and this Prog illustrates that better than most. Linework to digital rendering to painting…Tharg uses many different styles of art droids in his production of Thrill-Power. And then there’s John M. Burns, which brings us to ‘The Order’.

    Continued below

    When last we saw the world according to Burns and writer Kek-W, it was self-described by the writer as “The Expendables in the 13th century Europe.” Anna Kohl and her band of setting-sun adventurers (plus a robot) fought off an incursion into this dimension from some pretty disgusting worms. But now we’ve jumped ahead almost 300 years and half a world away; to The New World, to be more precise. ‘Colonizing’ Spanish conquistadors are laying siege to a South American temple, while its inhabitants prepare for the inevitable. Which you would think might be death, but since this is “2000 AD” it’s more likely that the inevitable involves a literal floating airship, bombing runs, and death by anchor. We’ve got a whole new set of circumstances here, but Kek-W and Burns continue what was one of my favorite aspects of the last series: seeing the antiquated analogs of modern technology unleashed on an unsuspecting populace.

    And Great Googily Moogily does Burns deliver on that and so much more! There’s a lushness to his work that immediately separates it from the pack. The first thing that pops into my mind when I see it is work like Jose Luis Garcia-Lopez’s “Star Raiders” OGN from DC’s short-lived science fiction line. It shares a texture with that and what I want to say are some other European artists of the 60’s and 70’s (including this week’s cover artist Ian Kennedy). But underneath that veneer is the rock-solid framework that keeps the colors in check. We’re going to come back to this in the weeks to come, but just look at that preview above. Burns skimps on absolutely nothing in terms of evocative design and character acting, but leaves enough looseness for shots of exaggerated cartooning in that framework (like the scattering figures and unfortunate targets in the first panel’s anchor drop).

    I guess you do something for, oh, 50 years like Burns has, you get kinda good at it, huh?

    Credits: Kek-W (script), John M. Burns (art), Ellie de Ville (letters)


    A.B.C. Warriors: Return to Ro-Busters, Part 1

    Lots of familiar faces showing up in the Prog this week, no matter if you’re a longtime fan or a more recent convert. We knew the ABC Warriors were going to harken back to an earlier time at the end of their last strip ‘Return to Mars’, but I wasn’t quite ready for the full ‘Ro-Busters’ immersion that we get this week. A little recap:

    ‘Ro-Busters’ was a strip that followed a team of robots saving humans from catastrophes and disasters, always getting the worst jobs because robots were so commonplace by this point they were practically an invisible social caste. It originally started in “2000 AD”’s sister title “Starlord”, along with another long-time favorite returning this week ( ‘Strontium Dog’). Both strips were folded into “2000 AD” when the two comics merged after only 26 issues. ‘Ro-Busters’ continued on for another half a year until creator Pat Mills launched ‘ABC Warriors’ as a kind-of reboot of ‘Ro-Busters’ with a little more focus and tying into some of the other strips he was writing at the time. We’ve seen a few one-off ‘Ro-Busters’ stories here and there in the last 35 years, but nothing sustained. Until now.

    (And before anyone gets antsy, Hammerstein ended the last strip talking about how the Warriors only hope of getting the better of their creator Howard Quartz and his safety failsafes against them was to reconnect with the one robot who was always able to give him the finger: Ro-Jaws. So this is a flashback, not a reboot)

    ‘Return to Mars’ had a real weight to it; possibly leaden at times depending on your tolerance for that kind of thing. There’s none of that in ‘Return to Ro-Busters’. Since Mills is reintroducing Ro-Jaws to the readership, we focus on him during the rescue of a student driver and instructor (and rescuing her from her instructor, by the looks of things). The dynamic he has with his partner Hammerstein clicks immediately, I can’t wait to see more of them.

    Just as fun as the banter is seeing Clint Langley unleashed on these pages. Langley doesn’t seem to have done anything structurally different in his approach from the last story to this one, and I don’t see why he would want to change what has clearly worked for him on this strip. But we see him open up the color palette with ‘Return to Ro-Busters’ and, boy, does it work just as well as Mills’ reintroduction of Ro-Jaws. It seems weird to say that art with as much attention to grime and detail as Langley’s pops, but I can’t think of a better way to put how it looks to my eyes.

    Continued below

    So what’s it like having Mills & Langley on ‘Ro-Busters?’ Gang-busters!

    Credits: Pat Mills (script), Clint Langley (art), Annie Parkhouse (letters)


    Strontium Dog: Repo Men, Part 1

    Johnny Alpha just wants to kick back and enjoy a life in Freedonia, out of the spotlight of being Johnny Alpha, Strontium Dog. Not a figurehead for mutant rights, not a bounty hunter, not a corpse…just a dude doing some fishing. But when he finally hooks a fish, it turns out to be twice his size and literally armed. One broken pole and obscene amphibian hand gesture later, Johnny’s low-key lifestyle was off to a great start. But how committed to it could he have been if he brought his sidearm on a fishing trip? He (and we) knows there’s no way he’s going to get that kind of life. And just as soon as the fish leaves, trouble comes riding in on electric horses…

    Wagner and Ezquerra bring Johnny back to the pages/screens of “2000 AD” for another case. We’re at least two stories removed from his ‘resurrection’ arc, so with that heavy lifting out of the way, we get to throw off the rebuilding shackles and get down to some good ol’ ‘Dog’ tales. It seems like someone wants a bunch of Strontium Dogs to go reclaim the criminal-infested asteroid we last saw in ‘The Stix Fix’: The Rock. As ideas go, it’s somewhere between horrible and insane, but it comes with a reward that has enough zeroes in the right place, so these Dogs are gung-ho to do it. But for a job of this size and degree of difficulty, you need the best. You need…Johnny Alpha!

    Too bad Johnny wants no part of it. Or at least, he says he does. But if that’s the case, why does he keep asking about their plans?

    Credits: John Wagner (script), Carlos Ezquerra (art), Simon Bowland (letters)


    Judge Dredd: Melt

    I know it hasn’t been too long without a Henry Flint/Rob Williams Dredd strip, but that doesn’t mean I haven’t missed them immensely! I love the comics these two do together, and I couldn’t think of a better way to kick off this giant issue.

    As the holiday season approaches, we find a Mega-City One that is still reeling from the destruction wrought by Aimee Nixon and the Enceladus monsters. Judges Dredd and Hershey remember too well the viciousness of those icy extraterrestrials, so when reports of snowmen come from control, no punches are held! The sector is cordoned off, H-Wagons are called in advance, and a swat team armed with flamethrowers are dispatched, all before a single Judge can arrive on the scene. But what happens when Dredd lays eyes on fluffy, white thieves with carrot noses, and not the Enceladus creatures he was expecting? Will they all go to an ice skating rink? Probably!

    Williams did a hell of a job with this one-off strip. Take his narration as an example: throughout his writing on the “Titan” trilogy (“Titan,” “Enceladus: New Life,” and “Enceladus: Old Life“) Williams used a third-person omnipotent point of view to give us an insight into the various characters on his stage. So, when this strip seems to start off in the same way, it serves to make the comic feel as if it is a part of a whole, narratively linked to what came before. But, within a page and a half we start to see that our narrator is not some all-knowing voice that exists outside of the story, but is instead a little boy. And, as would be the case with any little boy, he is elated by the sight of real, live snowmen running around his home sector.

    Part of what makes this story so good is the way Williams plays with the boy’s experience with the snowmen. He sees them as magic, but once Dredd steps in, the magic is destroyed. Mild spoiler here: the snowmen’s actions are interpreted by the boy as an attempt to build something that almost seems utopic. A place where people can live and be happy, away from the stresses and dangers of their real lives. A fantasy that was trampled by Judge Dredd, a sort of representation of the real world the boy thought a team of snowmen could shelter him from. This is that boy’s first Christmas knowing that there is no magic. It feels like Dredd is meant to be an allegory for that shitty older kid who saw fit to be the first person to tell you that there is, in fact, no Santa Claus. This is the equivalent of that first year knowing that it’s your parents who put the gifts under the tree, and not some magic man in a funny outfit. At least that’s how I took it.

    Continued below

    The work Flint did on this strip is stunning. I know I’ve raised this question before, but how is he not one of the biggest names in comics yet? His sense for page layout and story flow is dynamic yet simple to read (thanks in no small part to Annie Parkhouse’s lettering.) His figure work is chunky yet kinetic, and his linework feels expertly rendered in some spots, but also maintains a cartoonist’s sense of gesture and shorthand in others. His character design is impeccable, as can be seen with his punker snowman, complete with liberty-spike carrots. And last, but certainly not least is his approach to color. Flint seems to really enjoy using earthy, soiled colors with fluorescent pops to bring it all to life. He also sneaks a ton of texture into his colors, which allows him to better communicate what the world feels like while keeping the weight off of his linework.

    Credits: Rob Williams (script), Henry Flint (art), Annie Parkhouse (letters)


    Absalom: Family Snapshots

    Ah, it’s that time of year again! Scarves and winter coats, stringed lights and early sunsets, and heartwarming cards begin coming through the mail. Like everyone’s favorite: the annual your-grandkids-posing-with-horrible-demon-creatures. Oh wait, that might just be Harry. You know, Harry Absalom?

    I really dug the last “Absalom” series to run in the Progs, and this was a nice reminder of what I enjoyed so much. An interesting cast hunting demons, hints and scratches at the larger world around them, and fantastic art. This was just a one-off strip, but I hope that it’s laying some groundwork for the next series. I love the idea of an annual photo in the mail, sent by demons whose intent is to either torment Harry or bait him into a fight he can’t win.

    Credits: Gordon Rennie (script), Tiernan Trevallion (art), Simon Bowland (letters)


    Sinister Dexter: Blank Ammo

    Remember when I said that one of “2000 AD”‘s strengths is its diversity of artists? Well, a subset of that would be having artists in that stable capable of meeting and exceeding the demands of more than one genre. Exhibit A is brought to you by Simon Davis. From early 20th Century horror to Celtic savagery to futuristic hitmen (and those are just the ones I can think of off-hand), is there anything Davis can’t do? I really don’t think so. But having worked on Dexter & Sinister’s adventures for almost 20 years by this point, it has to be particularly satisfying for him to come back and knock out this full-circle one-off with series writer Dan Abnett.

    We’re just over a month out from the events of ‘The Taking of the Michael’ and things are still … weird … for our favorite gunsharks. Despite the odds being stacked against them, they managed to come out of the big showdown with Moses Tanenbaum unscathed. Really unscathed. No, I mean REALLY unscathed. As in, not a scratch on them physically nor a blemish on their records. Sinister & Dexter are the baddest hitmen this side of Leon and Brother Mouzone, but ever since they made it off the Michael, a look at their records would have you think they were born yesterday they are so clean. And it’s not just the electronic records; nobody recognizes them, even in their old stomping grounds. To friends and enemies alike, these two are a blank slate.

    Given that the universe just did these outlaws a solid for their disposal of threat-to-all-existence Tanenbaum, do you think they’ll take the hint and retire from the life? Walk (or drive) the earth like Caine in Kung Fu? Or maybe go back to doing what they do best? I can’t wait to find out!

    Credits: Dan Abnett (script), Simon Davis (art), Ellie de Ville (letters)


    Future Shocks: The Mighty Mykflex

    Last year’s Prog 2015 had a new story serving as a sequel to one written almost 30 years before: Max Normal: No Comics For Old Men’ by Guy Adams and Ben Wilsher. But Max was a semi-recurring Dredd character, and Guy Adams was not his original writer, so it has to be different than this week’s ‘Future Shock’ where a writer pens a sequel to a Future Shock he wrote over three decades ago. How did THAT little experiment turn out?

    Continued below

    An exceptional strip, I thought. While I’m assuming that there are little bits and nods for the handful of readers who caught, and recall, the story that precedes this one, you don’t need any prior knowledge to enjoy “The Mighty Myflex.” There were a few surprises in this short, as well as a very notable cameo, so be sure not to miss this one.

    I love a good secret origin, don’t you?

    Credits: Martin Feekins (script), Jesus Redondo (art), Annie Parkhouse (letters)


    Miracle on 34th and Peltzer

    A bit of prose to make this gigantic issue an even more well-rounded affair!

    ‘Miracle’ was a smartly written bit of fiction by Jonathan Green. The tale takes place in a number of locations, all of which are unknowingly tied to one another. Terrorists take Weather Control hostage, eldsters careen towards their final Christmas on the Ho Ho Ho Express, a man volunteers in a soup kitchen, and some reindeer pulled tree meat soars through the skies above Mega City One. Oh, and Judge Dredd on a powerboard!

    Credits: Jonathan Green (script), Tom Foster (illustration)


    Cover by Ryan Brown



    Judge Dredd: Terror Rising, Part 4

    Judge Beeny has been written and drawn by creators other than Wagner and MacNeil, and handled well in those instances, to be sure. But when those two come together to tell a story with her, it’s something special. Their continuing ‘America’ arc centered around her (after beginning with her mother and ‘father’) finishes a new chapter this month, and there’s no way to look at it as anything other than a major step forward for the character.

    With Dredd sidelined from a random attack by the terrorist group Total War, it’s Beeny that leads the investigation into that group’s recent surge in Judge killings. Total War was the group her mother, activist America Jara, was working with when she was gunned down trying to blow up the Statue of Liberty in protest to Judicial overreaching. A lesser team than Wagner & MacNeil could make the investigation into their activities personal for Beeny; or rather, TOO personal. They’ve managed to showcase her strength of conviction by NOT having her fly off the handle and go rogue when it comes to things like this. Beeny believes in the system as much as Dredd does, in her own way, and ‘Terror Rising’ shows us (and Dredd) just how much of a vital part of keeping that system working AND honest she’s become.

    Each one of these ‘America’ stories leaves Beeny in a much different place than where they start her from. She’s already one of the best street Judges in Mega-City One. Where else could she go from here? Only onwards and upwards…

    Credits: John Wagner (script), Colin MacNeil (art), Chris Blythe (colors), Annie Parkhouse (letters)



    DREDD: Dust, Part 1

    The Dredd movie continues its series of follow-ups under the stewardship of Arthur Wyatt with “Dust,” his third story set in the movie universe, and the first with Ben Willsher on art.

    I think that we’ve previously described this series of stories as something like the beginning of Marvel’s Ultimate Universe. Familiar names and faces with a good mix of new characters, but with the room to let the story go where it needs to. Something that will have enough touchstones to reward existing readers, but is also fresh enough, and unbeholden enough, to be able to attract the uninitiated as well. And all of this is true for the art as well as the narrative. Chris Blythe’s colors do an excellent job capturing the arid feel of the movie. Which is perfect, considering that the scorched and ruined Cursed Earth has made its way past the guarded walls of Mega-City One.

    I think Wyatt knows that this sort of movie setting works best with something a little more grounded, in terms of premise. His first story in this universe, “Underbelly,” focused on the void in the city’s drug market left by MaMa’s death, and “Uprise” dealt with, well, an uprising. Both stories that, as outlandish and futuristic as Mega-City One may be, there’s still a current day touchstone for readers. We’re not dealing with Kleggs or The Angel Gang, not yet at least. Instead, it’s almost as if we’re being steeped in this world. Do I feel like, given enough time, Wyatt could work us up to something as divorced from the real world as Judge Death? Certainly, but I don’t think he’d have his eye on that just yet. And that’s what makes this so exciting, the sense that he’s built a foundation and can begin to go anywhere from here.

    Continued below

    And, not least of all, he’s already got the ball rolling on the movie universe Wally Squad. So, that said, you know I’m in for the long haul on this!

    Credits: Arthur Wyatt (script), Ben Willsher (art), Chris Blythe (color), Simon Bowland (letters)


    DeMarco, PI: Damocles, Part 1

    DeMarco just cannot seem to keep herself out of Mega-City Two, can she?

    Formerly a billionaire, as well as a Judge, Galen DeMarco has recently found herself out of both money and gainful employment. Her previous time as a private investigator went more smoothly when she had limitless resources at her disposal. But now? It’s catch-as-catch-can, and DeMarco isn’t catching any jobs beyond what used to be inconsequential amounts of money for her. So when Justice came knocking with some well-paid freelance work, DeMarco was happy to oblige.

    Writer Michael Carroll has once again teamed with artist Steve Yeowell for ‘Damocles.’ Yeowell’s art is crisp and clean, with not a spare mark to be seen. I’ve always appreciated his work on this strip. There’s a starkness to it that betrays the monied comforts that DeMarco used to enjoy, even when she was ‘slumming it.’ And of course, Carroll has done an excellent job stitching together his various “DeMarco” stories into a larger narrative. As with his “Judge Dredd” work, there are callbacks a plenty to reward the long-time reader, as well as plenty of hints and exposition to get everyone else up to speed.

    Credits: Michael Carroll (script), Steve Yeowell (art), Ellie De Ville (letters)


    Demon Nic, Part 7

    We’re 7/8th of the way through this baby, so just trust me when I say things are barreling forward towards a showdown of biblical proportions. I know it doesn’t look like it with our hero Nicodemus in chains and on the losing end of a monologing priest, but that’s from page 3 of a 15-page chapter. There’s plenty of time for all manner of dastardly deeds and dynamic devilry to show up, especially when you’ve got a storyteller like Grist at the pen.

    I’m still amazed, frankly, at how effective of a storyteller he is. I’ve been reading his work for almost 15 years at this point, from “Jack Staff” to “Kane” to “Mudman”, and Grist makes it look so easy. Panel borders? Who needs ’em! Actually, they’re still there, which is the beauty of Grist’s approach. The image above is actually just one panel, so it’s probably not immediately apparent, but let’s take a look at a page from Megazine 365 see what he’s got going on:

    That is, at first glance to the untrained eye, a complete mess of a page. Even a long-time comics reader might be a little hesitant to dive in to this sea of wordballoons and shapes floating over darkness. But if you look at it for more than a second, you’ll realize it’s actually just a simple 5-panel page. Well, not simple, exactly; more like straightforward. It’s just that Grist has taken out the panel borders and sucked out the ‘air’ in between the art & lettering like one of those vacuum-sealing machines that let you store meat in freezers for years. That lack of space actually lets the art breathe a little more, paradoxically.

    And yes, there’s a lot of word balloons, but Grist uses them as a visual storytelling device as well as a narrative one. What do we do when we start reading a page (if we’re of Western orientation)? We go to the top left corner and head right. Try that here and your eye goes across panel one and right into panel two. Now the overlapping panels become a strength because the head of the next speaker is jutting in from panel three and ends up right next to where the balloon from panel two ends. Panels two, three, and four are like jigsaw pieces; Grist built them to fit in a specific way for a specific effect that brings your eye through the page in the proper manner.

    Panel five has a neat little trick where the dialogue works read right-to-left instead of the left-to-right that starts the page. He pulls this off by keeping your eye on the right side of the page as you go from the top to the bottom, and therefore its much more natural for you to read panel five from right-to-left as your eye naturally goes back over to the left than have you go back to the left and then read back to the right in a zig-zag manner.

    Continued below

    And that’s just one page. I could go on all day about Grist’s technique, but we’ve got one more installment to cover and I’ll need something to talk about if everyone dies because Nicodemus fails to stop the Bone Lord from summoning M’Gurk the soul drinker somewhere between page 3 and 15 of this month’s strip.

    Credits: Paul Grist (script/art/letters), Phil Elliot (colors)



    Interrogation: Ian Kennedy – A Masterclass in Mechanics by Karl Stock

    When I think of artist Kennedy’s and “2000 AD”, my first thought goes to Cam Kennedy, who you would probably remember from either his ‘Judge Dredd’ and ‘Rogue Trooper’ work or from his collaborations with Tom Veitch on either ‘The Light & Darkness War’ or the ‘Dark Empire’ minis from Dark Horse for a little known property called Star Wars. But that’s the extent of my Kennedy connection. Ian Kennedy? Never heard of him. Thankfully, Tharg has decided to rectify that oversight for me by not only having Ian Kennedy come out of semi-retirement to do a smashing cover from this week’s Prog, but also having him sit for one of the Megazine’s Interrogations.

    Did you know Kennedy still paints covers for “Commando” and has been doing so since 1969? And that he guesses he’s racked up more than 1,500 of them at this point? Kennedy was one of the original artists for ‘Ro-Busters’, as well as just about every other strip for “2000 AD” or “Starlord” at that point in time. He went on to relaunch Dan Dare for the revived “Eagle” comic in the mid-1980’s. This just about scratches the surface of interesting facts from this jumbo-sized interrogation. I can guarantee you that after reading it, I’ll never think of only one Kennedy for “2000 AD” again!

    Comicana: The New Eagle – An Eighties Adventure by Stephen Jewell

    “Eagle” was the premiere British comic for several decades, from its launch in 1950 to its merger with “Lion” in 1969. An institution in that country, there had to have been a huge amount of trepidation on the part of editor Barrie Tomlinson to bring the comic back as “The New Eagle” in 1982. You’d think that capturing lightning in a bottle again would be almost impossible, especially with “2000 AD” taking the lead in the hearts of British comic fans. Plus, how many Eighties relaunches of something with ‘New’ in the title were actually good? (I’m looking at you, New Coke…) But against all odds, ‘The New Eagle” managed to not only survive but thrive for almost 12 years. Stephen Jewell gives us a comprehensive look back at the British comic’s second life.



    We understand that having such a large selection of comics to choose from can make knowing where to start with 2000 AD seem daunting. What do they publish? Where can I get it? What’s up with Judge Dredd? Can I still read “2000 AD” if I don’t like Judge Dredd?

    So to help new & potential readers, we’ve put together An Earthlet’s Guide to 2000 AD. This FAQ collects everything you need to make your initial foray into the 2000 AD Thrill-verse as simple as possible.

    That’s gonna do it for us this week! “2000 AD” Prog 1961 and “Judge Dredd Megazine” 367 are on sale today and available from:

    So as Tharg the Mighty himself would say, “Splundig vur thrigg!”


    //TAGS | Multiver-City One

    Greg Matiasevich

    Greg Matiasevich has read enough author bios that he should be better at coming up with one for himself, yet surprisingly isn't. However, the years of comic reading his parents said would never pay off obviously have, so we'll cut him some slack on that. He lives in Baltimore, co-hosts (with Mike Romeo) the Robots From Tomorrow podcast, writes Multiversity's monthly Shelf Bound column dedicated to comics binding, and can be followed on Twitter at @GregMatiasevich.


    Mike Romeo

    Mike Romeo started reading comics when splash pages were king and the proper proportions of a human being meant nothing. Part of him will always feel that way. Now he is one of the voices on Robots From Tomorrow. He lives in Philadelphia with two cats. Follow him on Instagram at @YeahMikeRomeo!


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